Thamizh Songs in Carnatic Music—26
ஆடாது அசங்காது வா --Come without dancing or shaking…
Composer: UththukkADu VenkaTakavi 
Composition: ADAdu asangAdu vA
kaNNA…
Composer: UttukkADu venkaTasubbaiyer (also known as UttukkADu
venkaTakavi)
mudrA:
(signature): venkaTakavi (occasional)
rAgam: madyamAvati (janyam of karaharapriyA , 22nd mELam)
tALam: Adi
ArOhaNam: SR2 M1PN2 S
AvarOhaNam: SN2PM1R2S
பல்லவி:
ஆடாது
அசங்காது வா கண்ணா உன்
ஆடலில் ஈரேழு புவனமும் அசைந்து அசைந்தாடுது எனவே (ஆடாது)
அனுபல்லவி:
ஆடலைக் காணத் தில்லை அம்பலத்திறைவனும் தன்
ஆடலை விட்டு இங்கே கோகுலம் வந்தான்
ஆதலினால் சிறு யாதவனே ஒரு
மாமயிலிறகணி
மாதவனே நீ (ஆடாது)
சரணம்
:
சின்னஞ்
சிறு பதங்கள் சிலம்பொலித்திடுமே அதை
செவிமடுத்த
பிறவி மனம் களித்திடுமே
பின்னிய சடை சற்றே வகை கலைந்திடுமே மயில்
பீலி அசைந்தசைந்து நிலை கலைந்திடுமே
பன்னிரு கை இறைவன் ஏறுமயில் ஒன்று தன்
பசுந் தோகை விரித்தாடி பரிசளித்திடுமே குழல்
பாடி* வரும்
அழகா உனைக் காண வரும் அடியார் எவராயினும்
கனக மணி
அசையும் உனது திரு நடனம்
கண்பட்டுப்
போனால் மனம் புண்பட்டுப் போகுமே (ஆடாது)
* ஊதி (variant)
Roman script below:
ADAdu asangAdu vA kaNNA un
ADalil IrEzhu bhuvanamum asaindu asaindADudu enavE (ADAdu)
Anupallavi:
ADalaik kANat tillai ambalattiRaivanum tan
ADalai viTTu ingE gOkulam vandAn
AdalinAl ciRu yAdavanE oru
mAmayliRakaNi mAdhavanE nI (ADAdu)
CaraNam :
cinnanj ciRu padangaL silambolittiDumE adai
sevimaDutta piRavi manam kaLittiDumE
pinniya saDai saRRE vaghai kalaindiDumE mayil
pIli asaindasaindu nilai kalaindiDumE
panniru kai iRaivan ERumayil onRu tan
pasu^n tOghai virittADi parisaLittiDumE kuzhal
pADi * varum azhagA unaik kANa varum aDiyAr evarAyinum
kanaka maNi asaiyum unadu tiru naTanam
kaNpaTTup pOnAl manam puNpaTTup pOghumE (ADAdu)
* oodhi (variant)
Lyrics: Ref. # 1
Meaning:
Pallavi: Oh, KaNNA please come without dancing
or jerky movements since when you dance the entire galaxy of 14 worlds
oscillate in unison with your dance.
Anupallavi: In order to watch your dance, the Lord of
tillai (Nataraja of Cidambaram), abandoned his dance and came to Gokulam.
Hence, you MAdavA, who wears a peacock feather, please stop your dancing.
CaraNam: Your little feet make the jingling sound of
the anklets in them. Those who hear such sound get immense pleasure. Your
braided hair goes out of alignment and the peacock feather that you wear keeps
moving around. The peacock, vehicle of
the 12-handed Lord (Murugan) spreads its plumage and dances to entertain you.
You
handsome KaNNA with your sweet music emanating from your flute, those who come
to see you watch you dance. If ever they cast an evil eye on you I would be
terribly offended. So do not dance, just come without dancing.
General
Comments:
This song is a dream of every student of
bharatanatyam since it lends itself to deft handling of the little activities
described. Traditionally only Lord Siva is known to be the foremost expert in dance. However, Krishna ,
especially in his childhood was known to dance beautifully. The Kalinga
narthanam (the dance on the head of the huge snake in the Yamuna river which
terrorized folks in Gokulam) has also been captured in absolute splendor by the
same composer.
The composer imagines that Lord Nataraja
comes to Gokulam to watch Krishna dance which
gives testimony to the charm of Krishna ’s
dance. The incident that is imagined by the composer is the dance by the child Krishna who is decked with jewels and peacock feather
with his hair braided up. The dance is so enchanting that the whole universe
participates in witnessing it. The composer is also imagining here that some in
the audience might cast an “evil eye” on the child Krishna
which would be unbearable.
Ooththukkaadu Venkatasubbaiyer (OVK) wrote
most of his songs in Thamizh in a mixture of chaste and colloquial language
which blend quite easily and flow smoothly. A remarkable group of his compositions is the
trilogy that he wrote about the ladies of Gokulam complaining about the
mischief of Krishna to his mother Yasoda. The three compositions, tAyE YasOdA (tODi ragam), illai illai illai ammA (mOhanam), and pEsAdE pOngaLaDi (madyamAvati) constitute
a beautiful set of pleasant but rational arguments about Krishna’s mischief,
the accusation by the ladies at Gokulam, a forceful defense by the child
Krishna, and the dispensation of the judgment by Yasoda. They resemble the modern
day court arguments of plaintiff and defendant with the judge delivering a
fair(?) judgment.
OVK’s diction in Thamizh is commendable. It
is worth mentioning that in several songs, the choice of certain words is so
impeccable and absolutely irreplaceable.
Composer’s
Bio:
Ooththukkaadu Venkatasubbaiyer (1700-1765)
predates the Trinity. He was born in Needamangalam and lived in Mannargudi in
Thanjavur district. Very little is known about him. His songs have been
compiled, edited, and published by Needamangalam Krishnamurthy Bhagavathar, one
of OVK’s descendants. OVK composed many kritis in Sanskrit and Thamizh, mainly
on Krishna .
OVK
was the first to compose thematic
compositions like Navavarana and Saptaratna kritis consisting of nine and seven
songs in each, respectively. He learned the rudiments of music from Pooranur
Natesa Bhagavatar. Without further recourse to additional training, he found
his mental guru in Lord Krishna himself. In addition to kritis on Krishna , OVK also composed on Lord Ganesha and other
deities.
OVK was the first one to use the ‘madyma kAlam”
–a fast-pace delivery- in his compositions. His compositions have pleasant
melody, ringing rhythm, and free-flowing rich devotional lyrics. Most of his
compositions are popular among dancers. His famous works include Rudra sabhadham, Nandana geetham,
Kalinganarthana prabhavam, Rajagopala Nrityotsavam, and Sri Krishna Ganam. There are quite a few padams in the compendium Sri
Krishna Ganam.
Some other OVK’s Thamizh compositions that are very popular in music
concerts and commercial recordings are: tAyE
yasOdA (tODi), asaindADum mayilonRu (simmEndira
madyamam), alai pAyudE (kAnaDA), kuzhalUdi manamellAm (kAmbhOji), pArvai onRu pOdumE (suruTTi), nI tAn meccikkoLLavENum (sriranjani), kaNNan
varuginRa nEram (kAvaDic cindu), http://periscope-narada.blogspot.com/2014/09/kannan-varuginra-neram-folk-melody.html
ADum varai ADaTTum, and tEril vandAnO (husEni), yArenna sonnAlum (maNirangu), http://periscope-narada.blogspot.com/2016/03/yarenna-sonnalum.html
pullAip piRavi taravENum (senjcuruTTi),
eppaDittAn en uLLam (nIlAmbari),
and pAl
vaDiyum mukham (nATTaikkurinji).
References:
1. Sri Krishna Ganam (Ooththukkaadu
Venkatasubbaiyer paadalgaL). Edited by Needaamangalam Krishnamurthy
Bhagavathar. Publisher: K. RajammaaL. Printed by Rajan & Company Printers,
Chennai-6000 001
Audio and video links
Listen
to Maharajapuram Santhanam here
(click on #9 on the right navigation bar)
Listen to Maharajapuram S. Srinivasan here
Listen to Maharajapuram S. Srinivasan here
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